Pink Floyd’s ‘Atom Heart Mother’ artwork CREDIT: Hipgnosis But when Hipgnosis put something seemingly impossible on an album sleeve, often photographed for real, it almost magnified the mysticism of the music inside. You need to be so careful because an idea can sound great on paper, but how you shoot it is just as important as the idea itself.” I don’t put all kinds of objects in the shot, like Hipgnosis did with all the desert shots or the beds on the beach, which I don’t like too much, so I didn’t feature them…To me, that’s just photographing an idea, and it doesn’t go further than that. But I think the people they photographed for were from a different era…I’m post-punk, they’re pre-punk.” When you look at your work with Depeche Mode and U2, there’s a similar sense of scale.
They had a punk attitude to them, too, by just going for it. I don’t have any diplomas or anything, but I’m just doing it. I was always thinking still of photographing the artist. “I was very naive in my approach to these things at the time. The memory of the record, visually, is connected to the audio, these went hand in hand for me.” Did that sort of image open your eyes to the possibilities of what cover art could do? I haven’t played it for ages, but at the time, I loved it. “The audacity of just having a cow on the cover, and I liked the album.
Magazines, record sleeves, I had a focus on that and I was definitely aware of the Hipgnosis sleeves, and within that world, it was very important.” You’ve said that it was the cow on the front of Pink Floyd’s ‘Atom Heart Mother’ was the first Hipgnosis image that grabbed you… I didn’t think of gallery shows at that time. That’s where I saw my pictures ending, record sleeves, or magazines. When I grew up, that was a major thing, especially if you’re an aspiring photographer. “In as much as I thought record sleeves were important in my life.
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